Our presentation was about the film The Good Woman of Bangkok, the unique way the filmmaker Dennis O’Rourke made the film and how the critics reacted to these unique methods. When it came to deciding on paper topics, I knew I wanted to write about O’Rourke and his special methods, because I was especially fascinated by the man and his unique methods. I think, it is very interesting to get to know something about O’Rourke’s life fist and how and when the development from a celebrated ‘mainstream’ filmmaker to a much
criticized experimental filmmaker took place. Also, it is essential to examine the ideas and opinions that influenced his decision to make such a film. Reading and talking so much about O’Rourke’s special methods and strategies in The Good Woman of Bangkok made me curious about the documentary genre in general, whether this film is indeed so special and if his
forerunners were working in a completely different direction? After describing O’Rourke’s methods and objects, I will define ‘the documentary’ and examine the different modes of documentary film to see if The Good Woman of Bangkok actually is a documentary film and if it can be categorized as one of these modes. I hope this will shed some light on the question, whether O’Rourke’s film is as revolutionary as he puts it or if it is fashionable to provoke and agitate the viewers in the documentary genre in general.
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Inhaltsverzeichnis (Table of Contents)
- Introduction
- Life and Works
- The Genesis of The Good Woman of Bangkok
- O'Rourke's Methods and Strategies
- Enquiry/Investment of Time
- 'Engagement' Instead of 'Informed Consent'
- Conversations Instead of Interviews
- Secret Contract, Cultural Hero/Brecht's Alienation Effect
- Documentary Fiction
- Truth/Transcendental Moment
- Conclusion and Objective
- Theoretic Classification
- Documentary vs. Fiction
- Defining Documentary
- Is The Good Woman of Bangkok a Documentary?
- Modes
- Development and Description of the Modes
- Poetic Mode
- Expository Mode
- Observational Mode
- Participatory Mode
- Reflexive Mode
- Performative Mode
- Table of Documentary Modes
- Categorization of The Good Woman of Bangkok
- A New Mode?
- The Good Woman of Bangkok: A Participatory, Reflexive and Performative Documentary
- Development and Description of the Modes
- Documentary vs. Fiction
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper examines Dennis O'Rourke's filmmaking methods, specifically in his film The Good Woman of Bangkok, analyzing his departure from conventional documentary styles and the critical responses it generated. The study aims to classify the film within the documentary genre, exploring whether it fits established modes or represents a unique approach.
- Dennis O'Rourke's innovative documentary techniques
- The evolution of O'Rourke's filmmaking style and its challenges to traditional documentary norms
- The classification of The Good Woman of Bangkok within existing documentary modes
- Critical responses to O'Rourke's unconventional methods
- The exploration of sexuality and relationships in non-fiction filmmaking
Zusammenfassung der Kapitel (Chapter Summaries)
Introduction: This chapter introduces the focus of the paper: an analysis of Dennis O'Rourke's film, The Good Woman of Bangkok, and its unique approach to documentary filmmaking. The author expresses their fascination with O'Rourke's methods and the intention to explore his life and influences, as well as a broader examination of the documentary genre itself, to determine the film's originality and place within the genre's established modes.
Life and Works: This chapter provides biographical context for understanding O'Rourke's filmmaking. It details his early life, unconventional path, and experiences that shaped his perspective. The chapter traces his journey from early work in Papua New Guinea, which focused on the impact of colonialism and cultural destruction, to his later, more controversial projects that challenged traditional documentary norms. His transformation from celebrated mainstream documentary maker to a more experimental and often-criticized filmmaker is highlighted.
The Genesis of The Good Woman of Bangkok: This chapter delves into the motivations behind O'Rourke's creation of The Good Woman of Bangkok. It explores his dissatisfaction with conventional documentary filmmaking, his desire to explore cinematic expression beyond the confines of the genre's established constraints, and the influence of his personal experiences, particularly his reflections on sexuality and relationships, on this project's inception. The chapter describes how a chance encounter in Bangkok and the desire to explore his own sexuality directly influenced the film's development.
Schlüsselwörter (Keywords)
Dennis O'Rourke, The Good Woman of Bangkok, documentary film, documentary modes, participatory documentary, reflexive documentary, performative documentary, experimental filmmaking, conventional documentary, cinematic expression, sexuality, relationships, cultural criticism, postcolonialism.
Frequently Asked Questions: Analysis of Dennis O'Rourke's "The Good Woman of Bangkok"
What is the overall focus of this document?
This document provides a comprehensive preview of a paper analyzing Dennis O'Rourke's filmmaking methods, specifically in his film "The Good Woman of Bangkok." It examines his departure from conventional documentary styles, explores the film's classification within the documentary genre, and analyzes the critical responses to O'Rourke's unconventional approach.
What topics are covered in the Table of Contents?
The table of contents includes an introduction, a section on O'Rourke's life and works, the genesis of "The Good Woman of Bangkok," a detailed look at O'Rourke's methods and strategies, a theoretical classification of the film within documentary modes (including a comparison of documentary vs. fiction and a description of various documentary modes), and concluding remarks.
What are the key objectives and themes of the analysis?
The key objectives include examining O'Rourke's innovative documentary techniques, analyzing the evolution of his filmmaking style, classifying "The Good Woman of Bangkok" within existing documentary modes, exploring critical responses to his unconventional methods, and investigating the exploration of sexuality and relationships in his non-fiction filmmaking.
What are the chapter summaries?
The introduction sets the stage for the analysis. The "Life and Works" chapter provides biographical context for understanding O'Rourke's filmmaking journey. "The Genesis of The Good Woman of Bangkok" delves into the film's creation, exploring O'Rourke's motivations and influences. The document also includes summaries of sections dealing with O'Rourke's methods and a theoretical classification of the film within established documentary modes.
What keywords are associated with this analysis?
Keywords include: Dennis O'Rourke, The Good Woman of Bangkok, documentary film, documentary modes, participatory documentary, reflexive documentary, performative documentary, experimental filmmaking, conventional documentary, cinematic expression, sexuality, relationships, cultural criticism, and postcolonialism.
What makes O'Rourke's filmmaking methods unique?
The analysis focuses on O'Rourke's departure from conventional documentary styles. Specific methods mentioned include his "engagement" approach instead of "informed consent," use of conversations rather than interviews, and the incorporation of elements of documentary fiction, blurring the lines between fact and fiction.
How is "The Good Woman of Bangkok" classified within documentary modes?
The paper aims to classify "The Good Woman of Bangkok" within existing documentary modes, exploring whether it fits established categories or represents a unique approach. It considers whether it might exemplify a new mode, or if it incorporates elements of participatory, reflexive, and performative documentary filmmaking.
What are the main documentary modes discussed?
The analysis explores various documentary modes such as poetic, expository, observational, participatory, reflexive, and performative modes. It uses these established categories to analyze and classify O'Rourke's film.
What are the critical responses to O'Rourke's work highlighted in the document?
The document notes that O'Rourke's unconventional methods have generated critical responses, suggesting that his work challenges and pushes the boundaries of traditional documentary filmmaking.
- Quote paper
- Katharina Berger (Author), 2006, Dennis O’Rourke’s methods and objects in 'The Good Woman of Bangkok' – a 'Documentary fiction' film?, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/118893
